Wes Anderson Research


‘Moonrise Kingdom’ – Do you steal clip

This clip is from ‘Moonrise Kingdom’ made in 2012. In this scene Suzy and Sam have run a way together. Suzy is listing everything she has brought with her, as Sam lists it.


There are 5 different shot in the clip.



The first is an above shot. Wes Anderson films use a lot of birds eye view shots.This is an example of one of them. I like this shot as it give you an insight into Suzy’s life from the books she reads. It also tells you a lot about her because her suitcase is full of them. The actual shot is laid out in thirds.




The second shot is of Suzy. This shot is centered. They’ve done the centering also with the lighting. Half the light is directly on her face, whereas the other half is in the dark.



The third shot is of Sam, which is also in center. A lot of Wes Anderson’s shots are symmetrical. He does this to create a better center of focus.



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It then goes to another above shot.



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The last type of shot is a wide shot. This shows both the characters and the surrounding area.


This is the overall colour scheme for the whole of ‘Moonrise Kingdom’.

moonrise kingdom

In this scene in particular, he uses warm colours. Warm colours work well in this scene as it’s a happy scene and film. The use of warm colours give more of a happy atmosphere. The black book, however, stands out against the warm colours. This is effective because its the only negative prop in the scene.



‘The Royal Tenenbaums’ – Needle in the Hay Clip

In this clip Riche, one of the Tenenbaum siblings, tries to kill himself after realizing he’s in love with Margot.



This scene is only built up of a few shots. I think they do this to create a more simple atmosphere.


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This shot is a close up just of riches face. It is a continuous shot that carries on for 50 seconds. However, it does cut to different parts of him shaving his face.



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This shot is an over the shoulder, but showing the reflection of the character. I think this is an effective shot because it shows his whole body and the way he is looking at himself.



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This shot is a close up of Richie’s hands. I really like this shot because it shows every detail of his hands. I like how you can see the bandages and every crease.



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It then has flashback shots where he is thinking about Margot. These are quick flashes to scenes that have already been shown in the film. The colours also contrast (more analysis in the colour section.) There is also foreshadowing in this shot. On the bus it says blood and the next shot goes to him bleeding. It is foreshadowing because it shows it earlier on in the film



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The next shot is a birds eye shot. I really like this shot because its completely symmetrical. Even the hair has been laid out to be symmetrical. They also use contrasting colours (more detail in colour section).



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Then there is a side shot. This is the only camera in this sequence with proper movement as it follows him to the floor.




In this scene, there is contrasting colours to show the happy and sad memories. This is really effective because it gives a better atmosphere of his feelings. Cold colours, like blue and green, are used for sad scenes. In contrast warm colours, like orange and red, are used for happy scenes. Most of the film uses warm colours. This makes the scene with Richie stand out even more, are it’s the darkest, saddest, lowest part of the film and shows the turning point of the film.

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The blood in this shot stands out from the blue colours because they are, again, contrasting colours.




Shots From Above

Shots from above are important when showing what a person is doing. It can show the perspective of the character, which is it’s primary use. This makes the audience feel closer to what is happening and feel more involved.



Wes Anderson Tries to get most of his shots symmetrical, with either a person or an object as the main focus in the center. The symmetry creates points on interest as it helps the eye go to the main item.

This an be achieved by putting a line in the frame whilst filming. Most cameras have a grid function to help achieve this. Also, it takes a lot of planing to get it right.

Traveling Shots

I think the traveling shots have the same affect as the above shots. This is because it gives a P.O.V shot from the characters perspective. Again, it gives the audience a more in depth perspective of the character and makes them feel more involved.




Normally in Wes Anderson films there is an overall colour pallet in the film.


I like the idea of colour pallets because it gives and overall feel and aesthetic  for the film.

Happy/sad colours:

The film ‘The Royal Tenenbaums‘, Robert Yeoman uses the idea or warm and cold colours a lot. The scene with Richie after he has a break down is all shot with blue colours. This shows its a sad, depressing, scene. It already sets the scene before the scene even starts properly.


In contrast, the scene where Riche and Margot kiss for the first time, the scene is shot with warm colours. This shows its a more positive scene and is happier.




Grand Budipest Building

He also uses a lot of pastel palettes in his work. I like them because they compliment each other. Pastel colours are normally used to give a more aesthetic feel rather then give an overall atmosphere.


This entry was posted in Y1 Film 9 - Wes Anderson. Bookmark the permalink.

One Response to Wes Anderson Research

  1. kendalcollegefilm says:

    This is a very, very good piece of work, Izzy, beautifully illustrating your ideas and your understanding of Wes Anderson’s work. Well done. A quick note on spelling—make sure you’re spelling ‘palette’ with an -e, as ‘pallets’ are something totally different. Otherwise, this is a very good piece of analysis on the use of colour. I think you could take it a little further by considering the tone of the colours, too. Anderson tends to use rich colours with strong tones and (generally) low contrast, but these are not usually very bright (in the sense of being glaring). In choosing these colours, he therefore creates a vintage or ‘classic’ film aesthetic. This is a deliberate choice which gives a timeless feel to his work; this, in turn, is made contemporary by his self-conscious shot choices and frequent use of symmetry. In combination, these define Wes Anderson and his films. As a final note, look again at the screenshot of young Richie by the bus. There’s a really interesting use of composition and mise-en-scene in that shot that connects to the shaving scene. Try and spot it! Very good work, Izzy, and excellent use of screenshots. Keep it up.


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